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Boxing Without a Teacher 
or an Aid to Teachers 




YMNASIUM POCKET EDITION 



J X). S. WESTERMAN 1 

►xlri^ Instructor, University of Michigan | 

Copyriglited, 1916 | 

By O. S. Westerman § 

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In this treatise 

fhe Strategy of the Game 

is made plain. 



APR M 1916 



Counter Back on 
a Counter 



Boxing Without a Teacher or 
An Aid to Teachers 



The Mysterious, Uncanny Skill possessed 

by some champions easily 

explained 




O. S. Westerman 

Boxing Instructor, University of Michigan 

Ann Arbor 






FOREWORD 

The material found here will furnish some- 
thing tangible fol* those unacquainted with the 
subject. Also those more familiar with the 
work will find it presented in a progressive 
manner and a perfectly comprehensive idea of 
the science as a whole will be obtained. 



^-^C 



)0Ui27621 



NOTE TO TEACHERS 

Work the pupils up to the point where foot- 
work, sparring movements, and leading is 
thoroughly understood. Then when they un- 
derstand leading perfectly straight and turn- 
ing the face at the same time so as to receive 
return counters on the face, you will find it 
very easy to proceed with instructions in 
counterwork. 



DISCLOSURE OF METHODS 



Before you can establisli the right coordin- 
ation in your movements, you must work them 
out slowly with another man. 

To work with another man so as to derive 
benefit it is necessary that you be taught the 
proper method of working out form work. 

First of all it is necessary that each man 
know the correct position for feet, legs, body, 
head and arms. Then learn how to spar with 
arms so that when you move around with your 
feet the arm and leg movements correspond. 
Then whenever you hit you will back up your 
movements with the body and legs. 

Next the distance at which you spar from 
your opponent must be considered, as all clever 
work, feinting, etc., is based on this. 

How to lead at opponent's head with either 
hand should be given proper attention as a 
poor lead lays a man open to all kinds of coun- 
terts. 

For this method of learning counter work 
and of coordinating the various movements it 
must be understood that the men work lightly 
and after each lead and counter they should 
take time to return to the original sparring po- 
sition. 

The man leading should step in easily and 
lead, at same time turning his face away from 
HIS leading arm, turning the face quartering 
and a little down, not avoiding the return 
counter in practice work but receiving the blow 
en the c^eek brne. In practicing this way the 
man leading has the practice of leading 
straight without confusion and receiving the 
bbw in the face is splendid practice. He gets 
accustomed to being hit and at the same time 
he watches his opponent. The man countering 
has opportunity to work in perfect form and 



soon masters counter work. If counter work is 
completely mastered a man is practically safe 
from open attack. That is, he is safe where 
feinting does not play a part. 

Although all clever men know how to hit 
hard they seldom practice hard hitting. After 
reading what follows you will understand why. 
An explanation of the strategy of the game 
seems advisable at this point. A beginner is 
always put at the task of learning a variety 
of counter work. He learns how to avoid a 
lead and counter while doing it. It would all 
be easy enough if his opponent led without any 
feinting work. The feinting work is the stumb- 
ling block. His opponent expects that his lead- 
ing will be met by efficient counter work. There- 
fore he studies how to feint his man into at- 
tempting counter work. 

If a boxer leads in a strong determined 
manner and his opponent is a finished product 
in the art of countering he will be cut into rib- 
bons. Therefore his leads are light and he re- 
sorts to feints, trying to draw his opponent out 
with a counter. If he succeeds in gefcing his 
opponent to attempt a counter he will treat the 
counter as a lead and counter instantly back on 
it. 

A feint might be defined as a lead that falls 
short. If the lead falls short and a counter is 
attempted it is possible to counter back on the 
counter . You have time enough to do it and take 
but little risk if you 'hit as hard as you like. 
Our modern clever fig'hters have not found it 
good policy to counter back hard enough to 
knock a man out. All that is necessary is to 
hit hard enough to hold a safe margin. Good 
business sense dictates that you get return 
matches and also that you do not display too 
much ability as a knocker out. Other fighter3 
avoid fights with a man who is apt to stop 
their careers. It is also a fact that the public 
is better satisfied. It is often the case that a 
topnotcher could end a fight in the first round 
but the spectators would think it a poorly made 
match and believe that they were sold by the 
promoters. It is believed that in these few re- 



marks beginners will find much enlightenment 
and it is hoped that it will be possible fo.r 
students of the game to approach the subject 
with a better conception of what they are real- 
ly trying to accomplish in practice work. 

It should be seen that all good work in box- 
ing depends on proper coordination of counter 
movements. A clever boxer is absolutely sure 
that he has full command of his counter work. 
He does not set out to do some particular thing 
but feints his man into attempting a counter, 
then the position he finds his man in determines 
the counter he uses as he works back. His com- 
mand of counter work has to be absolute as it 
must be done with lightning-like rapidity. 

POSITION 

The position in which you work is half the 
game in boxing. To begin with the distance 
between the feet is considered. This varies 
with different men according to length of leg. 
Whatever seems best for any one man should 
be kept without variation. If the feet are too 
far apart you lose your step forward. If they 
are too close you have no brace. To get the 
right position with the feet stand with the heels 
together then take a natural step forward with 
the left foot. Have the left foot pointing di- 
rectly forward as the position of this foot has 
a lot to do with straight hitting. The ball of 
right foot is directly behind heel of left foot 
and the feet will be found to be from 14 to 16 
inches apart according to man. The right foot 
should be kept at an angle of 70 degrees and 
w^p.enever en the alert it is necessary to keep 
on the ball of this foot, the heel being raised 
about an inch from the floor. The legs should 
be nearly straight, only enough crook in knees 
to lend speed. Have as much weight on one 
le5^ as on the other. Then you can go forward 
or backward equally Quick. 

The abdomen should be drawn in, the chest 
out and the chin drawn in. The body is turned 
s'if?htly quartering and tipped toward the right 
side at waist line. This drops the right should- 
ly and raises the left. The shoulders them- 



selves are not moved, only the body from the 
waistline. This gives the shoulders the right 
position. 

Leave arms hanging at sides and get the 
right moves of feet in advancing and retreat- 
ing and working to either side. 

ADVANCING 

Step forward about the length of foot on 
left heel, letting foot go down flat; follow by 
bringing right foot up same distance. If you 
step forward on heel you will not pitch for- 
ward. In feinting it enables you to step back 
as quickly as you go in. 

RETREATING 

Step back with right foot on ball of foot: 
bring left foot back same distance. As left 
foot is brought back it is set down on toe then 
comes down flat. If you step back on ball of 
right foot you are braced ready to come back 
quickly and strongly if opponent follows. 

WORKING TO RIGHT 

Take a short step to the right with left foot, 
follow with right a short step, enough to bring 
the ball of right foot directly behind heel of left 
again. 

WORKING TO LEFT. 

Step to left with right foot a short step, fol- 
low with left enough to bring it directly in line 
in front of right again. 

GENERAL REMARKS ON FOOT WORK 

In sparring the steps in any direction are 
usually very short: otherwise you get out of 

position, out of line, or lose your balance. 

It is usually best to work straight forward 
and backward. If you circle go to right as you 
can see the ropes and corners and your oppon- 
ent without effort. At the same time you are 
working away from your opponent's ri^ht hand. 

A great advantage is gained by keeping the 



left leg well in front. That is — give the lower 
left leg a pitch backward. The ankle farther 
forward than the knee. Then when you step 
backward you will push against the floor in- 
stead of against the knee joint. You will get 
back quicker and there will be no strain on the 
knee. If an opponent gets too enthusiastic he 
will trip over your left leg. 

POSITION OF ARMS. 

Bring right forearm up across stomach, with 
fist half closed, held over heart and arm press- 
ed close to body so it cannot be driven against 
body. 

The left arm is held v^ith elbow in front of 
waist line, forearm rather low, but with back of 
forearm pointing easily upward toward op- 
ponent's face. 

SPARRING WITH ARMS. 

The arms should have some motion. To get 
this properly, draw right arm back slightly, not 
enough to uncover heart, at the same time the 
left is moved forward. Keep up this motion. 
Be very sure that the left elbow is not turned 
out to side as you spar. If left elbow is turn- 
ed out or up it will give a tendency to use a 
crooked arm when you hit and a crooked arm 
means shortened reach and a closer step in. 
You will soon acquire a habit of stepping in too 
close and consequently always use a crooked 
arm. The movements of arms in sparring 
should always be slow and easy. It is neces- 
sary to get the arms and legs moving together. 
Otherwise the legs do not back up the arm 
movements. A blow delivered by the arms 
alone is nothing compared to a blow backed up 
by the use of the legs. 

HARMONIZING ARM AND LEG MOVE- 
MENTS 

To get the legs moving with the arms, 
start sparring movements with the arms as de- 
scribed above, then as left arm goes forward 
step forward with left foot. As you advance 

9 



keep left arm moving with left leg. If you 

want to retreat, as you draw rig'ht arm back 
step back with right foot. As you keep re- 
treating keep right arm in motion with right 
leg. Now as you are retreating observe tihe 
movement of left arm and left leg. They are 
still moving together. If you follow this meth- 
od you will harmonize the arm and leg move- 
ments. You will find all your motions in per- 
fect rythm. The result will be a great gain in 
effectiveness and control. It will be much 
easier to coordinate counter movements. 

DISTANCE 

All clever work, and feinting, is based on the 
distance at which you spar from your opponent. 

An opponent's reach might vary from yours. 
It might be greater. Keep him where he must 
take a short step before he can reach you. 

Keep as close as you dare and still have him 
where he must take a short step, then you can 
escape his blows. If you are close enough to 
hit without stepping in, the result will be 
"in fighting," and the luckiest man or the hard- 
est hitter would win. Play the game, keep 
your distance and spar openly. In sparring 
around your man observe his faults in position 
and try to use them to your advantage. The 
character of the move he will use is often dis- 
closed by the fault in his sparring movement. 

LEADING LEFT OR RIGHT 

There is not much to say about leading with 
left or ri^ht; but the finer points must always 
be observed, and you can never acquire too 
much speed and accuracy. As good leading 
makes a good basis for other work and also im- 
proves your feinting, assidious practice is ne- 
cessary. In all leads, with left or right, step- 
ping in straight with the left foot is necessary. 
It is the quickest way and the weight is thrown 
directly forward. 

LEFT LEAD 

In leading with the left, as you step in the 
body is turned edgewise, the shoulder thrust 

10 



forward, the arm nearly straightened, getting 
all the reach possible. As the blow lands the 
right foot may be oflF the floor. To get back, 
step back quickly with the right foot. If you 

had to spring in to lead, as the weight falls on 
the back foot in the getaway, spring back off 
the right foot, landing on the left foot with 
the body pitched slightly forward, to brace if 
the opponent follows. 

RIGHT LEAD 

In leading the rig'ht, as you step forward 
with the left foot, let the right side of the body 
come forward, thrust the right shoulder for- 
ward, straighten right arm, getting all the 
reach possible. As you lead in with right, ihe 
left hand should drop back over the stomach. 
This is fundamental. Whenever you lead with 
either hand, the free hand should be covering 
the body. Your getaway when leading with 
right is same as with left lead, only simpler, as 
the right foot should never leave the floor when 
you lead with right. You maneuver so as to get 
clase enough to hit with right without bringing 
the right foot in as you step in with the left. 

One method of getting in closer before lead- 
ing, is to keep your hands, head and body in the 
same relative position to opponent, but get in 
closer with the feet before stepping in. This is 
easily accomplished by gradualy assuming a 
backward pitch of the body as you spar around 
your opponent. When you have worked your 
feet in closer you can step in with the left foot 
and reach your opponent easily with your right 
and still keep your right foot on the floor. If 
the right foot comes off the floor and you miss 
your man, you are apt to pitch forward, twist 
aro'und and land on the back of your neck on 
the floor. 

LEADING AND GETTING AWAY WITHOUT 
A RETURN 

It is very good practice to lead as quickly 
as possible and try to get back without a re- 
turn. A slow lead leaves you open to all kinds 
of counters. A good leader is apt to be a good 

feinter. 

11 



LEADING AND TURNING FACE, IN FORM 
WORK. 

If you are going to practice slow work with 
another man, so as to coordinate your move- 
ments, it will be necessary to learn to lead and 
turn the face out of line at the same time. 
Each man works lightly and takes his time. 
The man leading turning his face to side, away 
from his own leading arm. Never, however, 
taking his eyes off his man. The mark, in box- 
ing, when hitting at the head, is the eyes and 
ncse, the center of the face. The quicker you 
learn to turn your face when you lead, and to 
turn your face when your opponent leads, the 
better off you will be. It is only another step 
to slip the head entirely out of the way. 

EFFECTIVENESS OF HEADSLIPPING 

Headslipping leaves both hands free to hit 

and is a real accomplishment. Whenever the 
face is turned or the head slipped, the hands are 
not used to guard. It is not necessary. When 
you guard you stop your man's forward move- 
ment, at least partially. When you slip the 
head, he keeps coming in, you are going for- 
ward, the result is a hard counter. Any work 
leading up to headslipping is worth attention. 

THE METHOD OF RECEIVING A COUN- 
TER ON THE HEAD WHEN WORKING 
OUT FORM WORK, IS EXPLAINED IN THE 
"DISCLOSURE OF METHODS." 

MASTERING COUNTER WORK 

When two men are trying to master counter 
work, it is necessary to work easily, lightly and 
also for each man to return quickly to regular 
sparring position after each separate maneuver. 

You will quickly perfect your form work by this 
method. 

COVERING BODY WITH ARMS. 

If the arms are held in the proper position 

while sparring, the body is so well protected 
that an oponent is compelled to lead at the head, 

12 



which he finds apparently open and unprotect- 
ed. If he succeeds in hitting the head he finds 
it hard and he smashes his hands. In leading 
so high he uncovers his own soft body. His op- 
Dcnent finds it an easy mark, it does not hurt 
his hands and the blows do a lot of damage. 

PROTECT BODY AT THE EXPENSE OF 
HEAD 

It is best to protect the body at the expense 
of the head. It is easy to move the head out of 
the way. The body must be protected in a dif- 
ferent manner. 

MORAL EFFECT OF AGGRESSION 

It is best to develop a leading, feinting, ag- 
gressive style. Following this plan you get 
control of your opponent's movements. The 
moral effect of a fearless attack on your op- 
ponent is greatly to your advantage. 

ACQUIRE SPEED 

Acquire speed enough to lead and get away 
without a return. Feint, when he mistakes the 
move for a lead, and attempts to counter, you 
will have time to counter back on his counter. 

ADVANTAGE OF A STRAIGHT ARM 

Using a nearly straight arm in countering 
on head will hold an opponent oflF. You avoid 
exchanges, he cannot even matters up, and the 
result is you hold a safe margin. Countering 
with a straight arm at head keeps you from 
stepping in too closely. If you drive your op- 
ponent's head back he cannot use his free hand. 
When he attempts to exchange you find your- 
self in a position to counter again. Often de- 
livering two or three counters without his hit- 
ting you. Straight leading, taking advantage 
of your full reach gives opportunities for bril- 
liant counter work when an opponent attempts 
an exchange. Good leading makes good feint- 
ing possible. Then if counter work has been 
thoroughly mastered it is easy to display clev- 

13 



erness against men who are less familiar with 
the game. 

DIFFICULTY IN USING COUNTERWORK 

If an opponent boldly leads counter work 
is not difRcult. Usually counterwork is taught 
first. When an oponent feints, it becomes 
much more difficult to counter. If counterwork 
is taught first it usually results in a lack of ag- 
gressiveness which is fatal to good work. A 
man waiting to counter is on the defensive and 
if his opponent lacks aggressiveness it is a 
farce. Neither man possesses knowledge 
enough of the game to make it interesting. 

PART FEINTING PLAYS 

Feinting, rightly understood, and used by a 
determined man, breaks the deadlock and the 
result is action. 

FEINTING 

There are different methods of feinting. 
Trick feinting is commonly used but unless 
spiced in with good straight legitimate feinting 
is not very effective. 

As most clever work is based on keeping a 
proper distance while sparring, straight lead- 
ing, and good cleancut countering, it is best to 
build up a system of feinting which naturally 
springs from straight leading. The best feint 
is one which resembles very closely the begin- 
ning of a genuine lead. 

This definition might be used for a feint: — 
"A feint is a lead that falls short." This defin- 
ition is suggestive. If an opponent attempts to 
counter on this feint which he takes for a lead, 
the result is disastrous. The man feinting has 
a margin of time enabling him to avoid the at- 
tempted counter, which he treats as a lead, and 
counters back on, at will. 

STRATEGY OF GAME 

If the strategy of the game is thoroughly 
studied, it can readily be seen that hard hitting, 
for the most part, is only safe when you have 



drawn your opponent into attempting counter 
work, which you have gained time to avoid by 
feinting. Finding him extended in a futile at- 
tempt to get at you, it is safe to hit as hard as 
you like. 

SYSTEM OF FEINTING 

As in leading with either hand you always 
step in with left foot. It would be well in feint- 
ing with either hand to feint with left foot by 
taking a very short step forward as though 
starting to lead. You should feint with the 
foot as much as with the hand. Better results 
are obtained as all blows should be backed up 
by corresponding moves of feet. 

FEINT WITH LEFT 

Partially extend the left arm as though 
starting a lead, at same time take a short step 
forward with left foot, about half the length 
of foot. If opponent does not respond by step- 
ping back, or guarding, return to position with 
arm and foot. That completes the feint with 
left hand. 

TREAT A FEINT AS A SEPARATE MOVE 

The feints should always be considered sep- 
arate moves and complete in themselves. By 

treating them in this manner you can practise 
them separately and become much more flex- 
ible. It becomes easier to follow a given feint 
by a variety of leads or counter work. 

HOW TO FOLLOW UP AFTER FEINT 

If an opponent does not respond to a feint, 
you lead instantly : if he responds by a counter, 
you counter back; if he steps back, you do not 
return feinting foot to position but bring up 
back foot and hold the ground you have gained. 
If your opponent gives ground as you feint, 
follow until you corner him. 

RIGHT FEINT 

When leading with the right hand, what an 
opponent sees is the quick uncovering of the 

15 



body, as your hand comes forward with lead. 
The same effect can be produced by drawing 
the right hand back. An opponent sees the 
quick uncovering of body and takes it for a 
lead. As the right feint is oftenest followed by 
left lead, this method of feinting with the right 
has decided advantages. The left foot is al- 
ways advanced slig'htly as the right hand feints. 
If the left foot is advanced in feinting it is 
seen that you have stepped in that much closer 
and if you follow instantly with a lead it gets 
there surprisingly quickly. 

BEST COMBINATION. 

Especially is this true of tlie left lead fol- 
lowing the right feint. It reaches the mark 
so quickly that it is almost impossible to 
guard. This is a combination that is the best 
of a number that can be gotten in this man- 
ner. 

VARIED COMBINATIONS 

A feint with either the left or right can be 
followed by leading with either the left or right. 
Either feint can be followed by either lead. 
The feinting movement with the foot is always 
short. If it is followed by a lead, the distance 
gained on the short step in on the feint is kept 
and the leading movement of the foot which 
follows instantly is always a longer step in 
than the feinting move. 

COMPLICATING THE SYSTEM 

An opponent, discovering that each prelim- 
inary feint is followed by a genuine lead, will 
try hard to counter back on the lead. This is 
easily handled by falling a little short with the 
lead, drawing suddenly back, without chang- 
ing the feet, and then as he counters, or tries 
to, counter back on his counter. 

TRICK FEINTS. 

The above system consists of straight work. 
To understand what is meant by trick feinting 
it will be necessary to have some idea of coun- 
ter work, and, in following the discussion on 

16 



this phase of the game, it will not be difficult 
to acquire a sufficient knowledge of trick feint- 
ing. 

A COMMENT. 

Because of the necessity for limiting the 
amount of material used in this treatise 
the discussion of counterwork which follows, 
will be confined to the more necessary and ef- 
fective movements. 

If the pupil masters the work given here he 
will find himself well grounded in the art. He 
may feel sure that he knows accepted practice, 
and. if he picks up other moves he will under- 
stand how and when to use them. 

GUARDING WITH ONE ARM AND AT THE 

SAME INSTANT HITTING WITH 

THE OTHER. 

The many fundamental principles involved, 
and the more or less progressive nature of the 
work, calls for a certain arrangement in the 
teaching of counter movements. 

It appears to a man, who has had just the 
footwork and sparring movements, and who 
has been instructed in straight leading, that, 
with his body so nicely covered, and his head 
cpen, that his opponent has but two moves — 
either a lead at his head with the left, or a 
lead at his head with the rig'ht. If he had a 
safe method of handling these leads he would 
have, at least, something to work with. The 
moves which will be immediately described are 
simple enough in demonstration, but require, 
perhaps, more practice to coordinate than is 
usually the case with counter movements. It 
is quite essential that they be perfectly mas- 
tered, as so much that is good in counterwork 
springs directly from the precise position of 
the guarding arm as it is used here. 

The counterwork, as explained, can be 
practised slowly and lightly, as form work, or 
can be executed with speed while actually box- 
ing. 

17 



GUARD LEFT LEAD AND RETURN A 
COUNTER 

Opponent leads left, at same time turning 
his face to side, so as to receive counter on 
side of face. (In actual boxing practice, of 
course, the return left counter would either be 
guarded or the head would be slipped entirely 
out of line.) As left lead comes out it should 
be guarded by turning palm of your right hand 
out, checking force of his lead by touching his 
forearm with soft part of guarding arm or 
wrist. At the same time you guard with right 
you hit with left at center of opponent's face. 
The hitting arm gets all the reach possible, 
and is kept nearly straight, which holds op- 
ponen away should he attempt hitting with 
other arm. 

The elbow of your guarding arm should be 
kept as low and close to body as possible. Do 
not step forward or move the head out of posi- 
tion. Your opponent, as he leads, steps in far 
enough to hit you. If you step forward you 
make it harder to guard. If you bring the 
shoulder of your guarding arm forward you 
shorten the reach of your hitting arm. Do not 
touch his hitting hand or glove even though it 
touches your face. You will be surer of your 
move if you break the force of his blow by 
touching his forearm,, as you guard and hit, 
if you let the body and head move slightly 
backward, all chance of his hitting hand strik- 
ing your face will be avoided. 

GUARD RIGHT LEAD AND RETURN 
A COUNTER 

As opponent leads his right, wait until his 
hand comes pretty well in over your left fore- 
arm, then suddenly turn your left palm out- 
ward so that your left forearm touches his 
right forearm, at same instant you will be hit- 
ting at center of opponent's face with your 
right arm. You should not shove on his lead- 
ing arm with your guard. It is not necessary, 
as your hitting arm goes out your right should- 

18 



er will come forward, crowding the left arm 
over forcing his right lead wide. After each 
of these leads, your opponent, finding his at- 
tempts to get at you frustrated, is obliged to 
step back and take his sparring position again. 
Using a nearly straight arm as you counter, 
keeps him from coming in with his free hand 
to your body. 

Usually, after delivering a counter, it is 
best for the man countering to get away as 
quickly as possible. In the counter work just 
described we find the exception. 

SHADOW BOX TO CO-ORDINATE 

The above arm movements can best be co- 
ordinated by shadow boxing. Stand, without 
moving the feet or head, and first imagine an 
opponent is leading the left. Guard with the 
right by turning palm outward and hit at same 
time with left. Do this slowly until you al- 
ways turn the palm of right hand out, and 
keep the palm of left hand up, as you hit. Then 
practice the corresponding guard and counter 
used when opponent leads the right. 

Always spar with the left arm low enough 
so that opponent can lead over cleanly with his 
right. Be sure to wait until his right hand 
comes well over your forearm, then just turn 
your left palm out, without changing the spar- 
ring position of the left arm, at the same in- 
stant your right arm is delivering a counter, 
palm up, to the face. 

It is very important that you get the cor- 
rect guarding position of left arm. The left 
arm or hand is not drawn back. It does not 
crowd the right lead wide. The crowding wide 
is accomplished by the change in position of 
the shoulders as the right arm comes forward 
in hitting. Practise this movement slowly until 
the guarding hand always turns palm out and 
the hitting hand always goes palm up, then 
alternate these countering movements and 
speed up on them until you can move at top 
speed and still turn the hands in the proper 
position for guarding and hitting. 

19 



INSIDE HOOKS 

If the guard with the left is properly made 
it is very easy to hook to the head with the 
left without changing the position of the arm 
or hand. You would not hit with the right at 
all in this case but guard with the left and then 
hook to head with left, making two separate 
moves. This is a peculiar type of hook. The 
arm is kept nearly straight and the palm 
turned out. If an opponent jerks his head 
back he cannot escape this type of hook. It 
is very effective, being startlingly quick and 
hard. This hook can be used after guarding 
with either hand. It is a development from the 
"Guard and Hit" counterwork described above. 
It can be seen by this that too much import- 
ance cannot be attached to mastering these 
two moves exactly as described. 

The soibject of "Inside Hooks" will be more 
fully discussed later. 

COMBINATION HEADSLIP AND 
SIDESTEP. 

Head slipping and sidestepping has so many 
advantages that special stress should be laid on 
acquiring skill in this line of counterwork. It 
is tremendously effective as the head is gotten 
out of way by slipping, leaving both hands free 
to hit. You go in, meeting your opponent as 
he comes forward. A blow delivered under 
such circumstances has full eflfect. From the 
standpoint of the onlooker it is spectacular and 
very pleasing. 

When worked out slowly in detail an appre- 
ciation of the finer points is quickly grasped 

COMBINATION MOVE IN DETAIL. 

Have opponent lead slowly at center of your 
face with his left. Don't anticipate his move 
but wait until he starts to lead, then, without 
moving your hands or feet, move your head to 

right, just enough to escape the blow, keeping 
your eyes on your opponent's face. In slipping 
the head most of the move comes by action in 

20 



the neck. Any move of body from waistline to- 
ward side is a ducking movement. A headslip 
and a duck are different moves. A head slip is 
a move of head and neck. A duck is a move of 
body from waistline. A headslip is good prac- 
tice but a duck is apt to get you into as much 
trouble as it gets you out of. Again have your 
opponent lead at head. This time at same time 
as you slip the head step forward and a little 
to right with the left foot. Don't move your 
hands. After most counters it is proper to get 
av/ay so at this point step back on ball of right 
foot, also withdraw the left foot. If your op- 
ponent strikes at you, as you step back, he finds 
you out of reach, if your getaway is properly 
executed. 

Have your opponent lead again with left at 
center of face. This time slip the head and 
sidestep to right, at same time straighten your 
left arm, palm up, to center of his face. Now 
step back as before to get away. 

THE COMPLETE MANEUVER. 

Slip the head and sidestep to right, straight- 
en the left arm, palm up, to center of face, step 
back with right foot to get away. This is done 
with lightning like speed. Your step in is 
graduated by the reach in of your arm. Have 
your arm nearly straight, then you will not 
make the mistake of stepping in too far. If you 
use a crooked arm and step in too far your op- 
ponent will find a chance to exchange with you, 
and you will lose the advantage you gain in 
countering. If you keep a straight arm in head 
counter work and your opponent tries to ex- 
change with you it is quite easy to counter 
again, you have plenty of time to do it. 

REMARKS ON SIDESTEPPING. 

There are only two ways to slip the head 
and sidestep. Either to right or left. The head 
is only moved far enough to escape the glove 
which leaves you nearer in line with opponent 
and your return blow is quicker and harder. 
The sidestep is always with the forward foot, 

21 



that is the left faot. In attempting to sidestep 
with the back foot, or right foot, as is some- 
times taught, you remove your brace from be- 
hind you, and, worst of all, you actually draw 
away from your man and shorten your reach. 

THE FEATURE MOVE IN SIDESTEP 

In all good sidestepping you must not only 
step to side but f orward at the same time . This 
throws the weight towards your opponent and 
turns the body so as to throw the weight 
around behind the hitting arm. 

The sidestep is very short, ordinarily not 
more than the width of foot, at same time the 
foot goes forward a little. This is done either 
to right or left, according to which side you 
are slipping the head. If you slip the head to 
right you aJlways hit with left arm; if to the 
left always with the right arm. 

HEADSLIP TO LEFT. 

Have opponent lead at you with left, at same 
time slip your head to left, sidestep to left and 
straighten your right arm to center of oppon- 
ent's face. Your arm will go along the inside 
of his left. Keep it straight, palm up, and your 
elbow will not hit his arm, neither will you go 
in too far. Get away the same as when count- 
ering with left. 

As you counter with right the left hand 
should drop back over stomach. This, you re- 
member, is fundamental. While hitting with 
one hand the other should be covering the body. 
MAKE THIS A HABIT. 

RIGHT CROSS-COUNTER. 

Have opponent lead with left. Slip the head 
and sidestep to left at same time hitting to 
opponent's head with your right, across the 
angle of his arm from the outer side. Hit be- 
fore he straightens his arm then you can keep 
the palm up. If the palm cannot be kept up 
on this blow it is best not to use it as you are 
sure to hurt the thumb on opponent's head if 

22 



you turn the hand over. This is the right cross- 
counter. 

A cross-counter is a blow across the arm 
from the outside. Get away on this counter 
same as on other two mentioned. 

There is no better way to improve your form 
work than to shadow box the right cross. 

Have opponent lead with his right arm and 
the three counters just described can all be 
practised on that arm just the same as on the 
left. You get three counters on either left or 
right lead. 

SLIP THE HEAD FIRST. 

In slipping the head never forget it is the 
head first, everything else will follow if the 
moves have been properly co-ordinated by 
shadow boxing, which is going through the 
moves with an imaginary opponent, or if they 
have been worked out slowly with another man. 

Do not stand half paralyzed and not move 
the head but when your opponent starts to lead 
move the head either to one side or the other. 
If to the right side step to the right and hit 
with left hand. If to the left side step to left 
and use the right hand. 

No matter which side you slip the head or 
which hand your opponent leads you will always 
sidestep toward side you slip head and hit with 
hand on opposite side, always hitting oppon- 
ent's head. You are always slipping out of di- 
rect line of lead, keeping as close to oppon- 
ent's arm as possible and countering with 
straight arm. 

Driving your opponent's head back will keep 
him from using his free arm. 

Hitting at center of face is much more ef- 
fective than hitting at jaw. Blows aimed at 
jaw when your opponent is coming in with his 
head tipped forward are apt to miss and strike 
the upper chest and they do not stop his com- 
ing in. 

SURE WORK 

A blow delivered at center of face has more 
leverage and props his head back, very often 

23 



making- him throw up his arms and uncover his 
body. 

If a blow is aimed at face and an opponent 
knocked to floor he will usually g^et up again 
in a few seconds but if the blow to face is not 
too hard and quickly followed by a blow in 
stomach he will be brought forward again and 
then hooks to side of head will hold him up 
until a final drive to jaw. sends him to the floor 
after receiving enough punishment to make him 
stay down for the count. 

Head-slipping and side-stepping can be 
used in body countering but the getaway and 
method of using arms is different and will be 
considered later. 

PULLING DOWN LEFT LEAD 

As opponent leads at head with left, place 
the heel of your left glove on his arm, just 
above his wrist roll, and, without stepping for- 
ward, pull his left down, shoving it toward him 
at the end of move, then hit over. 

Pull down first then hit over. In hitting 
with right have elbow close to your side when 
you start and hit with palm up to opponent's 
head. 

Do not telegraph this move by throwing 
your left arm up as he leads but turn your 
arm over quickly on his. If he leads low this 
move is easily done. Keep your left hand in 
contact with opponent's arm throughout this 
move as it helps to steady you and you can hit 
harder and straighter. 

SHOVING UP LEFT LEAD 

As your opponent leads with left, if he 
leads high, it is easy to turn your left arm under 
his arm and shove his left up. The little finger 
side of your glove will be on the under side of 
his forearm, against the wrist roll. Shove it 
straight up, as high as possible, at same time 
hitting with right hand, palm up, at his short 
ribs. On this or on preceding move do not try 
to step in as you start the maneuver. If you 
do you will spoil it. He comes in close enough 
as he leads in. 

24 



THRUSTING LEFT LEAD ASIDE 

As opponent leads with left place your left 
hand, the little finger side, on the outside of 
his forearm so your hand will come against his 
wrist roll, thrust it straight towards the left. 
At same time hit at his short ribs with your 
right, palm up. You could also hit over his 
arm at head. The body blow would naturally 
be the harder. 

HIT BODY WHERE YOU HAVE A CHOICE 

Where you have a choice it is sometimes best 
to hit at body unless you have previously been 
punishing the head. In the three moves just 
described do not throw your man out of posi- 
tion. Keep your hand in contact with his arm 
when you get it there. Place him where you 
want him and hit. If you turn his arm up make 
it straight up, if down straight down and if to 
the side straight to the side. 

These moves are to be used aginst the left 
arm only. 

DON'T TOUCH OPPONENT'S GLOVES. 

Always avoid bringing your gloves in di- 
rect contact with those of your opponent. 
When you guard your arm or hand should be 
against his forearm or wrist. If you try to 

guard by touching his gloves you are apt to 
miss them. You cannot use the guarding hand 
to hit with immediately after guarding if you 
use such a method. It is often possible, how- 
ever, to stop a rain of straight blows by using 
the open gloves, palm outward, smothering the 
attack by catching the opponent's gloves in 
your open palms. 

CUFFING LEADS OUT OF LINE. 

A very shifty way of handling straight leads 
to head will be easily learned if close attention 
is given this explanation. 

The work is all done with the arms and re- 
quires no move of head or feet. 

25 



CUFFING LEFT WITH RIGHT 

Your opponent leads his left at center of 
your face. With your right hand turned little 
finger side to the outside of his left forearm 
you cuff it, at same time giving a lifting mo- 
tion, so that his glove misses your face and 
shoots over your left shoulder. You should not 
move your head and must not move your feet 
until you have cuffed his arm out of line. As 
you cuff his arm be sure you do not move it too 
wide then it will be easy to counter to the 
center of his face with your left hand. Before 
getting away it is possible to use the right 
hand on opponent's kidney. This can be done 
after using the right to cuff with. The rio;ht, 
if used in cuffing as described, gets a quick re- 
lease from its position in contact with oppon- 
ent's left forearm, and. as you have already 
countered to the face with your left and driven 
opponent's head back, his body is brought in 
'^Tose to your rip-ht hand. You can almost see 
his kidney. The right forearm is drawn back 
from the e^bow and you strike to kidnev with 
the hesl of hand. The movement is similar to 
that of chopning kindlinp- with a hatchet. This 
is a vicious b^ow and judgment should be used 
in delivering it as it is possible to dislodge the 
kidney. 

CUFFING RIGHT WITH RIGHT. 

As opponent leads right — with your right 
palm toward his forearm guide his right over 
your left shou'lder. at same time you are hit- 
ting with your left inside his right arm to his 
head. It is all right to hit at body instead of 
head in any of these cuffing movements but if 
you hit to head his head is driven back and you 
find it much easier to take care of his free 
hand should he attempt to use it. If vou hit 
his body instead of head he is brought over to- 
ward you and naturally hits quick and hard 
with his free hand. 

Cuffiing With Either Hand. 

It is an easy matter, if your opponent leads 
straight at center of your face with either 

26 



hand, to cuff his leads out of line with either 
hand. You know where they are coming. If 
you do not step forward you have only HIS 
speed and force to contend with. If you are 

cuffing with the right hand you make a pass 
with the right hand striking his forearm 
whether it is his left hand or right forcing it 
just wide enough so that it barely escapes the 
head and goes over the shoulder. As you cuff 
pick your spot and hit either to body or head — 
preferably the head. If you have kept perfect 
control of your cuffing hand you will find it 
quite easy to take care of his free hand should 
he attempt to hit with it. 

CUFFING WITH LEFT 

When opponent leads with left cuff with 
your left, striking his left forearm and sending 
his arm over your right shoulder, at same 
time- hit with your right inside his left arm 
to his head. Keep your cuffing hand where you 
can use it if he should hit with his right. If 
he hits with his right and you have been care- 
ful in cuffing with your left you will find your 
left in nice position to guard inside his right. 
After you guard with left leave the left in 
guarding position. That is — don't turn the 
hand over but hook to his head without chang- 
ing the position of your arm. You will remem- 
ber you just hit to his head with your right. 
Now after hooking with left you discover that 
you have gained the inside position with both 
hands and your right is now ready to hook to 
head. You could drop your head against his 
shoulder and by pushing him backward with 
the head beat a tattoo on his body with both 
hands. 

CUFFING RIGHT WITH LEFT 

As opponent leads right you find that his 
right forearm comes across your left and it is 
an easy thing to place your left hand on the 
outside of his right forearm and guide his lead 
oyer your right shoulder. At same time hit to 
his head with your right. You now find yourself 
in position to deliver the left kidney chop. You 

27 



can then clinch to save yourself or repeat to 
head with your ri^ht. 

CUFFING SYSTEM 

Condensing the foregoing it resolves itself 
into the following: Cuflf either lead out of line 
with either hand, pick your open spot and hit 
with free hand. If you hit the head it will be 
more difficult for your opponent to hit with 
his free hand. Whenever the cuffing move- 
ment leaves you in front of your opponent be 
sure your cuffing hand is not used so strongly 
in cuffing that it is impossible to guard with it 
when he uses his free hand. 

BODY COUNTERING 

In considering body countering make a care- 
ful review of the section on head-slipping and 
side-stepping. The head-slip and side-step is 
used in body counter work precisely the same 
a3 in head countering except that you must 
step in farther. The body is always farther 
away when your opponent is leading. 

THREE BODY COUNTERS 

There are three body counters delivered 
when opponent leads straight at head with left 
or right. Two when he leads left and one when 
he leads right. 

RIGHT TO HEART 

Opponent leads left. You should slip the 
head and side-step to your left at same time 
hitting with right hand at heart. 

THE GET-A-WAY ON BODY WORK 

When delivering body counters you find it 
necessary to step in close. If you try to get 
away by stepping back as on head countering 
your opponent will catch you with his free 
hand on the get-a-way. This is especially true 
in delivering the heart punch. Therefore it is 
necessary to use a different method in getting 
away. When you have delivered the heart 
punch you find your head very close to your 

28 



opponent's right hand. If you took time to step 
back he would surely land on your head. In- 
stead of stepping back, keep your feet set and 
draw your head and body back. To do this cor- 
rectly do not draw your head and body straight 
back or merely straighten up but as you draw 
back twist your bcdy from the waist line toward 
the right assuming the regular sparring posi- 
tion as quickly as possible. To make a com- 
plete get-away, as your weight falls on the rear 
foot, spring lightly backward landing on the 
forward foot with the weight pitched forward 
so that if your opponent persists in following, 
you will be braced to receive his attack. If thi3 
maneuver is rightly done your opponent will be 
unable to catch you no matter how quickly he 
uses his free hand. The difficult part to learn 
is to keep from moving the feet until you have 
drawn the head and body back. 

RIGHT TO STOMACH 

When opponent leads the right slip the head 
and sidestep to the left and deliver the right 
on his stomach. You will find the get-a-way 
easier on this counter. It is done exactly as it 
is done after the heart punch but you are not 
between your opponent's hands and you have 
more time to get away as it is not so easy for 
him to catch you with his left. 

LEFT TO STOMACH 

This is accomplished as your opponent leads 
his left. You slip the head and sidestep to your 
right at same time hitting with the left to his 
stomach. The same pet-a-way can be used, 
with this counter as with the other two body 
counters just described, but it would not be 
amiss to practice another movement in getting 
away which would give you room behind you 
again in case you were crowded against the 
ropes. 

GETTING ROOM BEHIND YOU 

After delivering the counter do not pull 
head and body back but with the rear foot step 
forward and to your right so that your right 

29 



foot is placed at right angles to your former 
line of action. As your weight falls on this 
f€ct spring off of it turning at same time facing 
adversary. As you spring your feet move so 
that you spring to the side away from your 
opponent and your left foot will occupy the po- 
sition held by the right as you took the first 
step. If this move is rightly executed you will 
completely elude your opponent. Always be 
sure you step over at right angles to your line 
of action. If you step farther you will escape 
by a still wider margin but you need at least a 
right angle, otherwise you cannot keep your 
ba"'ance easily and you might not get entirely 
away from the ropes. 

DRAWING ARM BACK TO HIT 

In countering on the body it is all right in 
baginning your practice work to hit with rather 
a long arm but the proper method in securing 
best results is to draw the hitting arm back 
close to the side as you step in. The blow de- 
livered is much harder. 

It is quite difficult for a beginner to draw 
his arm back as he slips in. After he has co- 
ordinated his movements and become expert in 
head-slipping and side-stepping his movements 
will not be disturbed by the quick drawing back 
of the arm as he steps in. 

If the pupil acquires dexterity in the get- 
away movements described here he has made a 
long advance toward cleverness. It is easy to 
stay in and fight but it takes skill to get away 
without a return. It is not necessary to make 
a complete get-a-way each time. If you stop 
with your feet set after just drawing the head 
and body back and your opponent reaches out 
for you it is often easy to catch him with a 
counter. 

DEFENSE FOR SWINGS 

If opponent swings quickly with both arms, 
block them with soft part of forearms, holding 
arms so as to cover body from temple to belt 
line, then pull both his arms down violently. 

This pulls his head forward: Hook to his head 

30 



with both of your hands. Usually his first 
swing i3 the left. If you move rythmically you 
will deliver your first hook with the right as 
this is the arm used first to guard, then follow 
with left. 

Your arms are turned palm out to guard 
but his head comes in close and as you hook 
the hands should be turned back to normal 
position. That is — little finger side down to de- 
liver blow. The arms in these hooking moves 
are held in perfect position for short arm 
hooks. 

DEFENSE FOR COMBINATION SWING TO 
HEAD, AND JAB TO BODY 

It is often the case that your opponent will 
combine a swing to head with one arm and a jab 
to body with the other. Guard the swing by 
turning palm side of forearm toward his swing 
and guard his jab by turning palm of hand 
guarding your body toward his jab. You should 
receive his jab in the palm of your hand and 
if your elbow is kept close to your body and 
your hand turned slightly out the force of blow 
will be lost by forcing this arm back and not by 
driving it into the body. 

After stopping this form of attack by guard- 
ing, the hand guarding the swing is used 
against opponent's head by hooking without 
changing the position of arm from guarding 
position. That is — hook to head without chang- 
ing position of arm as held while guarding. If 
opponent should draw his head back he cannot 
escape this kind of a hook. 

INSIDE HOOKS (FULL DISCUSSION) 

In connection with swinging it would be well 
to bring up again the discussion of inside 
hooks. 

Inside hooks are so very effective that it is 
well to make a close study of the different meth- 
ods of application. 

The effectiveness of hooks lies in the fact 
that it is impossible to brace the head against 
them. If they land they take full effect: how- 

31 



ever without the use of straight arm moves as 
a basis for your work they are not of much 
use against a clever man. 

Properly used and understood they are tre- 
mendously effective. They are used against 
straight leads by crowding wide a little as you 
guard and then hooking to head with guarding 
arm held in same position as when guarding, 
at same time watching your opponent's free 
hand with your free hand. If your opponent 
brings his head forward the hand of your 
guarding arm is turned over, bringing the little 
finger side of hand down. But if he pulls his 
head back the arm is held in guarding position 
and the hook is driven at side of his head with 
the arm only partially crooked. It is impossible 
for him to escape, no matter how far he draws 
back because you can step forward as you use 
your hook. 

It is often convenient to use a hook after 
guarding a swing or after guarding a long arm 
left hook to head. The position of the hand 
and proper angle of arm is determined by the 
character of opponent's move and the manner 
of his attempted escape. A little experience 
in the use of inside hooks and it is possible to 
adapt yourself to almost any mode of attack 
and escape used by opponent. 

OUTSIDE HOOK AND UPPERCUT 

On a little study it will be seen that the 
safest and easiest method of avoiding short 
arm hooks is to draw back quickly and hook 
over his hooking arm. If he hooks, or attempts 
to hook, with his reserve arm you can get the 
be3t of it by following your counter hook with 
an uppercut as he draws his free arm to hook. 
This last move is easy to shadow box. Imagine 
your opponent using a short arm hook, draw 
quickly back and hook over his hook with one 
arm immediately uppercutting with your other 
arm. 

LEFT AND RIGHT TO HEAD 

When opponent leads straight with left slip 
head to right and sidestep but don't go in far 
with the foot. Deliver left straight to his face 

32 



and then as he withdraws his left arm follow 
in quickly with right to head. By stepping in 
again with left foot as you hit with right you 
get in a hard counter. This is a startlingly 
good move. The footwork is the hard part of 
it. As you deliver the left hand counter, the 
move with the foot is short: as you follov^ with 
the right the step in is longer. It is quite prac- 
tical to use just the head slip on the first count- 
er, taking your step in when you hit with the 
right. 

RIGHT UPPERCUT 

As your opponent leads with his left mse 
a right cross counter. To avoid this blow he 
will quite likely drop his head forward. This 
i^ your chance for the right uppercut. Sidestep 
as for the right cross but instead of cutting 
loose with the right cross, circle the right fore- 
arm, raising the hand backward, keeping the 
arm close to side and then bringing it forward 
and up to opponent's face, with the back of 
hand up. This is a very hard and vicious 
move. 

PULLING CROOKED LEADS UNDER ARM 
AND HITTING OVER 

The majority of men opposing schooled 
boxers are unskilled men. All instinctive fight- 
ers exhibit nearly the same crudeness in their 
movements. It is quite easy to take advantage 
of some of their blunders. One of the most 
common is to lead crooked. That is, when 
they step in and lead with either the left or 
right hand, instead of stepping straiglit in, 
they step a little to the side and in place of 
hitting palm up. they turn the hand part way 
over and pull the lead across the opoonent's 
face. The blow is sent over and partly down 
missing the mark very easily; especially is this 
so if the distance is misjudged. It is very easy 
to deflect these leads by pulling them down 
with one arm, and sending them under your 
free arm, and then you can hit to head with 
your free arm. 

33 



PULLING LEFT LEAD UNDER ARM AND 
HITTING TO HEAD OR BODY 

Opponent hits at you with his left, turning 
his hand over and pulling his lead out of line 
toward your left shoulder. With your right 
hand placed on the outside of his left arm, 
guide it down and under your left arm. It 
will be necessary to drop your left shoulder 
backward and swing your left elbow out from 
the side of body. You can return a quick left 
hook to his face with your left hand without 
drawing the arm back. Or you can draw your 
left arm back and hit to either his head or 
body whichever is uncovered. 

PULLING RIGHT LEAD UNDER ARM WITH 

THE LEFT AND HITTING TO HEAD 

WITH RIGHT 

Opponent leads with right. Place your left 
hand on outside of his right arm and guide it 
down and under your right arm. At the same 
time let your right shoulder go back and your 
right arm swing out from your side, then drive 
your right arm straight at his face, palm up. 
This is a very hard counter when it lands but 
if you pull opponent's arm too low, you will 
bring his head down and he will lower it still 
more and your counter will go over his head. 

RIGHT CHOP 

As your opponent leads with a long arm 
right chop to face, side step to your left, de- 
livering at the same time a right chop palm 
down, at his face. As a rule chops cannot be 
recommended but in this case an exception 
is ma^eT"^ ' 

TIMING 

Technically timing is watching closely for 
some indication that your opponent is about to 
lead and striking just as he starts, and so stop- 
ping his leiad. If he leads at the body, draw 
back your stomach and hit at his head. If he 
leads at your head, hit the shoulder of the lead- 
ing arm. 

34 



DELAYED HITTING 

Delayed hitting can sometimes be used to 
advantage. For instance: If your opponent i3 
slipping the head out of way, delay your blow 
and hit his head after he moves it. Changing 
the timing of blows also often works to ad- 
vantage. 

GIVING THE HEAD 

It is often possible to injure an opponent's 
hands by allowing him to hit the forepart of the 
skull. Do not make a regular practice of this 
but try it at unexpected moments, otherwise, 
he may anticipate the lowering movement of 
the head and uppercut. As he starts to lead, 
suddenly lower the head so as to catch his blow 
on the strong part of the head in front. If you 
get used to this move you will set the neck and 
brace, sometimes even driving the head for- 
ward. If he has failed to close his hand Prop- 
erly, it will be badly injured. The quick for- 
ward drive of the head will often catch him be- 
fore he has closed his hand. When beginning 
the practice of this move, it might be well to 
recede slightly from your opponent as you low- 
er your head. He will be le3s likely to land if 
he uppercuts. If your skull is tough and 
strong, you will find this a very good move as 
your opponent's hands will be so badly hurt as 
to prevent any further effective work on his 
part. As you drop the head also bring the left 
arm back to a position close at side. Then 
should opponent continue his attack you are 
in a better position for defense. In your prac- 
tise work do not neglect to draw back the left 
hand as you lower the head. It is quite an ad- 
vantage to properly co-ordinate these move- 
ments. 

SAFETY BLOCK AND CLINCHING 

It is very necessary that a boxer have a 
good working knowledge of how to proceed 
when confused by punishment, outclassed, or 
driven into a corner. A boxer able to use the 
safety block or to clinch at the proper time has 

35 



ac-juired something very useful- Often his 
ability to continue in a bout is due to his use 
of one of these moves. When cornered, it is 
quite easy to protect yourself with the safety 
block, then step tow^ard your man and clinch 
him to prevent his further hitting. Now turn 
him so as to get room behind you again before 
you release him. 

SAFETY BLOCK 

The arms move quite naturally into the posi- 
tion for safety block when you once understand 
it. The guarding right arm is moved from its 
regular position so that the hand is shoved 
over the right shoulder palm out covering the 
left side of the head, the face concealed in the 
crotch of the right elbow. The left arm is 
dropped back across the body toward the right. 
the upper arm covering the heart and the fore- 
arm the stomach. If the body is at the same 
time pitched forward some from the hips you 
are strongly braced. Now by shifting the el- 
bows or twisting rapidly from the waist as 
your opponent hits at you, all of his blows will 
fall on the elbows, shoulders, or top of the 
head. 

CLINCHING 

When caught by a sudden attack cover with 
the safety block, step in close and throw both 
of your arms around opponent, hugging him 
close with both of your arms over his arms and 
around his body. When you try to get away 
(if the conditons of bout do not call for separ- 
ation without hitting) press opponent's arms 
close to his body, your arms will be outside of 
his arms with your hands on his elbows, draw 
his arms forward at the same time getting back 
with your feet. When you release him, he will 
be in such a position that he cannot get at 
you. When you find yourself caught in the 
same clinch by an opponent as he tries to draw 
your arms forward, you must draw them back 
close to your sides, then when he tries to let 
go he will be close enough so that you can 

36 



catch him on the side of the head with a long 
left hook. You may have to spring forward as 
he lets go. 

AGGRESSIVE WORK 

It is necessary as a basis to have as large 
a variety of counters as possible and to have a 
thorough knowledge of counterwork, otherwise 
you do not know what to expect in defense 
from an opponent. When you have acquired a 
working knowledge of countering, it will then 
be found advisable to develop a leading, feint- 
ing style. With this in view some of the better 
leading and attacking movements will be 
brought under discussion. An aggressive fight- 
er has better command of himself and a better 
grasp of the intent and purpose of an opponent 
than the purely defensive one. 

At this stage in the discussion of the art, it 
is necessary to divest your mind of the thought 
that an aggressive boxer is an instinctive fight- 
er. 

FINAL TEST OF SKILL 

The final test of skill is the ability to at- 
tack an opponent with a variety of skillful at- 
tacking movements and get to his vital points 
without receiving punishment in return. An 

instinctive fighter would fail lamentably in try- 
ing to attack and get away without return 
blows from an opponent. 

LEAD LEFT AND TAKE CARE OF 
COUNTERS 

On leading left to opponent's head you can 
expect that he will likely guard with his right 
and hit with his left, therefore as you lead in, 
throw your right arm in proper guarding posi- 
tion to receive this quick return. Your guard 
in this move is practically the same as his. We 
will consider two other open points which op- 
ponents may counter on while you are leading 
the left. 

37 



DISPOSING OF RIGHT CROSS 

Your opponent may come to head with rig"ht 
cross counter, if he does, use your right fist to 
punch it off by punching his fist quickly as it 
C2mes over your shoulder. Do not put your 
hand between his fist and your head (he might 
hold it there) in stead quickly punch it off to 
the side and return your right hand to guard, 
so that if he cames to your head with his left 
you can guard inside it and return hook to his 
head. 

TAKING CARE OF RIGHT COUNTER TO 
BODY 

As you lead your left, he may slip his head 
toward his left and deliver blow to your body. 
This necessitates the turning of your guarding 
right hand, palm outward, as you lead the left, 
so as to catch his right counter in your hand. 

OTHER METHODS OF DISPOSING OF 
RIGHT CROSS COUNTER 

As you lead the left and your opponent at- 
tempts this cross counter, throw your left el- 
bow high guarding the cross, then go to his 
head with a left hook without changing the 
guarding position of the left arm. 

SEIZING NECK AND DELIVERING RIGHT 
HOOK 

It is also possible to seize your opponent's 
neck with your left hand after you have missed 
his head with the left. He slips his head out 
of line and attempts to cross counter, raise your 
left shoulder and elbow a little, at the same 
time grasping the back of his neck with your 
left hand, jerk his head toward you. With 
your right arm and shoulder muscles set for a 
short arm hook, twist your whole body from 
the waist line and deliver a hard blow to the 
head, pulling and hooking at the same time. 

38 



i 



DUCKING UNDER RIGHT CROSS AND 
DELIVERING RIGHT TO HEAD 

If, when you lead the left, your opponent 
attempts a right-cross counter, suddenly re- 
tract your left arm, duck under his. right arm 
and deliver the right to his head. 

DIFFERENT TYPES OF LEFT LEADS 

The ordinary straight left lead you are 
thoroughly familiar with. But without a suffi- 
cient change in the positions of the arms when 
leading, you find it extremely difficult to get 
your man uncovered. After you have learned 
to step in straight when you lead and to hit 
straight without twisting to the side out of 
line you will find it to your great advantage, if 
you learn to use the arms in as many different 
positions as possible in leading. The more 
varied your leads, the greater difficulty your 
opponent has in guarding. 

If the lead always comes in precisely the 
same position, he will dispose of your attack 
quite handily. But you can adhere to correct 
principles and still get movements widely dif- 
fering in type. Your opponent will find his de- 
fense much harder and you open his vital points 
by cleverly feinting the different types of 
leads. 

In considering the different leads, the de- 
scription of which will follow, never lose sight 
of the fact that in certain fundamental points, 
they do not diverge from correct practice. 

LOW LONG ARM LEFT HOOK TO HEAD 

This is an extremely useful lead and for the 
distance it travels and the ease of delivery it 
is very hard. Before starting the move, the 
left arm can be moved a little out of regular 
sparring position toward the left. The change 
of position is hardly noticeable to an opponent. 
The force used to propel this lead is nearly all 
in motion before the arm is actually moved, 
for that reason it is a difficult move to describe. 
It is secured by a spasmodic twist from the 



waist line. The initial move is a quick con- 
traction of the muscles in the right side of the 
waist, the force ripples around the back to the 
left side and is transmitted to the left arm, 
shooting quick as lightning from its rather low 
sparring position up over the wrist of the 
guarding right arm, a hooking motion from 
the side to ihe butt of the ear or jaw. The 
move is not suspected until it is fully under 
way. In leading in you can step quickly for- 
ward with the left foot without your opponent 
guessing the real character of attack. If this 
blow is studied and perfected, it is one of the 
most effective in a clever boxer's repertoire. 

LONG ARM JAB WITH LEFT PALM DOWN 

This is one of the most useful blows used 
in boxmg and one of the hardest to get away 
from. When used by a man who thoroughly 
understands straight work it shows in its best 
light. It does noc want to be pulled across, 
neither do the feet want to be allowed to twist. 
As you step forward to lead, send the arm out 
and over to head with the palm down and arm 
nearly straight. The drive is straight forward 
and the arm does not want to be crooked up 
short but the full reach should be brought into 
play. If the opponent attempts to slip the 
head to the right or left the palm of the hand 
being down and the elbow slightly crooked, it 
is easy to follow his head. 

HIGH LEFT HOOK 

Except when used by a very fast man this 
hook is not safe for the man using it. But a 
fast man can use it to great advantage as a 
means of getting opponent's right guard up. 
As you step forward the left arm is thrown 
very high, elbow up, palm of the hand turned 
out and the blow goes over guard to head 
landing high with back of hand against head. 

GUARDS FOR LEADS 

The different types of leads require different 
position of right arm to guard. 

40 



GUARD FOR STRAIGHT LEFT 

The guard for straight left was described in 
"Guard and Hit." 

GUARD FOR LOW LONG ARM HOOK 
TO HEAD 

It is necessary to throw the right arm down 
at a lower angle and a little toward the right 
side. 

GUARD FOR (PALM DOWN) LONG ARM 
JAB TO HEAD 

Guard by throwing the right arm up with 
forearm nearly horizontal, looking under fore- 
arm. It is also possible to receive this blow 
on top of head by lowering the head. 

GUARD FOR HIGH LEFT HOOK 

In guarding this lead it is necessary to 
throw right arm much higher than for straight 
left to head but the forearm should be in a 
nearly vertical position. The left hand can 
block the blow by being thrown in between the 
attacking hand and the side of the head. This 
method of blocking is permissable for the high 
left hook as the force of the blow does not 
amount to much. It is also practical to duck 
the head under, coming up on the outside of 
the arm at the same time delivering a left jab 
to opponent's face using the left hand, palm 
turned down. 

PLACING LEFT HAND ON OPPONENT'S 

RIGHT GUARD AND HITTING TO 

HEAD WITH RIGHT 

Work in as close as you dare, reach out 
suddenly with left hand placing it on opponent's 
right arm at wrist pinnincr it to body. At near- 
ly the same time drive your right over to his 
head with the palm up. If his guard is rightly 
handled by your left and your right arm sent 
straight over his left to the head, it is practi- 
cally impossible for him to exchange blows 

41 



with you. Your step in as you reach for his 
guard should be a very quick determined move. 

It is very easy to clinch him after delivering 
the right, should he try to hit before you can 
get away. If you clinch, the referee will separ- 
ate you and your opponent gets no chance for 
a return blow. 

PROPER USE OF THE LONG ARM RIGHT 
JAB 

As a means of getting an opponent's body 
uncovered the long arm right hand jab deliv- 
ered with the palm down is extremely useful. 

It can be easily seen that in conjunction 
with the different types of left leads it tends 
greatly to the confusion of an opponent if it is 
skillfully used. Its superiority over the plain 
right lead delivered with the right hand, palm 
up, lies in the fact that it can be feinted very 
much more effectively, in fact the feint of right 
jab is a lightning like move if rightly done. 
The right shoulder should be brought forward, 
slightly in advance of the left, not forgetting, 
hov/ever, to keep the left arm advanced in its 
ri3gular sparring position. While you are feint- 
ing the jab, you should watch for counter moves 
from opponent's right or left hand. In either 
case, take care of them wtih your left arm 
which is held forward for this purpose. The 
ri.r:ht should feint strongly at head. If oppon- 
ent does not throw up his left guard hit to his 
head, get the right out nearly straight and 
don't step in too far. If he does throw up his 
left guard throw your head slightly to your left 
at the same time sending your right, still held 
in jabbing position, at his heart. Watch his 
free hand with your free hand. The force of 
the right hand jab, when it lands, whether it 
gees to head or body is going to spoil any at- 
tempt opponent may make to work back. 

ASSAULTING MANEUVERS 

These movements have been left until the 
last as they are not regular boxing maneuvers 
but are in the nature of Assaults. 

42 



THE SHIFTS 

The ri^ht shift is used on the aggressive. 
The left can be used either on the aggressive or 
defensive. A very definite idea of what is 
meant by a right or left shift can be gained 
from the following explanation: — 

When the statement is made that a shift is 
either right cr left, the thought intended to be 
conveyed is that either the right foot is brought 
forward from its position in the rear to a posi- 
tion in front of the left foot as the blow is de- 
livered or that the left foot is brought forward 
from a position in the rear to a positon in front 
of the right as the blow is delivered. It is easy 
to see how this could happen in the case of the 
ri"-ht shift but not so easy in regard to the 
left. , 

USE OF FEET IN LEFT SHIFT ON 
AGGRESSIVE 

In delivering the left shift on the aggres- 
sive, you should step suddenly forward with 
the right foot; this, of course, leaves the left 
foot in the rear position. The left foot is then 
shifted quickly forward at the same time bring- 
ing left side and arm forward as you spring 
in to deliver the blow. 

USE OF FEET IN LEFT SHIFT ON 
DEFENSIVE 

If the left shift is used on the defensive, it 
comes about in this way. As your opponent 
leads or advances, you step quickly backward 
with the left foot. As the left foot takes its 
position a pace behind the right foot, you sud- 
denly spring ferward off from it. at the same 
time bringing the left side and left arm for- 
ward as you deliver the blow. 

USE OF ARMS IN LEFT SHIFTS 

In either of the left shifts as you start for- 
ward, the right elbow should be thrown up so 
as to cover your face and jaw, at the same time 
pointing it straight at opponent. This use of 

43 



the right is all the guard necessary. If the 
right elbow is held properly aimed at oppon- 
ent's face any counter he may attempt will be 
deflected, leaving you a clear opening to hit at. 

USE OF HITTING ARM IN AGGRESSIVE 
LEFT SHIFT 

The left arm in the left shift on the ag- 
gressive is dropped back and down to about 
the height of the hip as you step forward with 
the right foot and then as you execute the shift 
by bringing the left foot forward, the left hand 
is driven at the stomach or head as you see fit. 

USE OF HITTING ARM ON DEFENSIVE 
SHIFT 

As you step back with left leg, the left arm 
drops back and down to the side so that the 
left hand is in a position about the middle of 
the left thigh. Then as the spring forward 
with the left leg is made, the left arm is 
brought forward, the hand coming upward to 
the stomach or head. 

SHIFTS ARE USED AT PSYCHOLOGICAL 
MOMENTS 

The shifts are practically safe for the man 
using them if he tries at the right moment. 
They are so violent when rightly used that an 
ordinary defense does not step them. Practice 
win j?ive a speed to these moves that is almost 
imbelievable. The unusual long step-in makes 
it verv hard to escape by stepping backward 
pnd the ordinary guard does not break the 
force enough to furnish protection. 

DEFENSE FOR LEFT SHIFTS 

A dangerous shifter is always known. It is 
therefore best to watch for the move to sbari: 
and by a quick side step to the left avoid the 
blow at the same time using a short right hook 
to his head. 

44 



RIGHT SHIFT 

The right shift when correctly executed is a 
very useful move. Wait for a good opportunity, 
then suddenly spring forward from the right 
foot at the same time shoving your right hand 
out with the arm straight but with the palm 
turned down, aiming the blow at the side of 
opponent's head. As you spring off the right 
foot, the right leg is shifted forward in front 
of the left and the right foot is placed a trifle 
to the left of the opponent's left foot. That is. it 
takes a position between his feet, not outside 
of his left foot. The final impetus given the 
blow comes from a quick extension of the left 
leg. It seems a hard move to describe but it 
is really quite a natural thing to do. Stated 
quite simply, it is this/ — Get your right hand to 
your opponent's head as quickly as possible by 
springing at him from your right leg. Let 
your right arm be straight out when the blow 
lands. Don't draw your arm back to hit. De- 
pend on the spring and shift to get force. The 
final spring or shove is given with the left 
leg. 

DEFENSE FOR RIGHT SHIFT 

The safest and most logical defense for this 
shift is to pull your opponents' right arm down- 
ward and out of line, to your right with yonr 
left. If this is properly done, he will be pulled 
forward to the floor on his face. 

DELAYED LEFT SWING 

As you step forward with left foot, swing 
the left arm down and backward with arm fully 
extended, describing a complete circle. The 
arm should be swung around as though it were 
a piece of rope with a big knot on the end of it, 
getting the motion with a peculiar move of the 
body. Understand the move of the arm does 
not ordinarily come from the muscles of the 
arm but from a motion of the body as the step 
forward is taken. The blow is aimed at the 
side of opponent's head and it is so hard that 
he finds great difficulty in guarding it. 

45 



GUARDING IN THIS MANEUVER 

He should guard by throwing his right arm 
in guarding position at the same time his de- 
fensive counter should be made by attempting 
to hook your head with his left hand. As you 
go forward and land the swing, you should at 
the same time have your right hand in position 
to guard his left hook. Should he attempt this 
hook, guard it and immediately return a hook 
to his head with your guarding hand, 

FEINTING DELAYED SWING AND HOOK- 
ING TO STOMACH 

Feint the delayed left swing by actually 
landing the blow but control it enough so that 
as your opponent guards you can suddenly jerk 
the left hand into hooking position and plunge 
it into his open stomach as you twist hard to- 
ward your right. 

STUDY AND PRACTICE 

The persistent study and practice of the 
work as laid out here will ground you thor- 
oughly in the fundamental principles of the art. 

You will come to understand that there is 
no end to the skill that may be acquired. You 
may also grasp the thought that no matter 
how arbitrary the system divulged here may 
seem, in the last analysis anything that works 
effectively in boxing is good. So there is 
nothing to prevent the use of your creative 
genius in making unusual combinations and in 
devising clever ways and means of working 
out the problems as you find them: 

BENEFITS DERIVED 

No matter how much our finer natures re- 
coil from the suggestion of brutality it is im- 
possible to get away from the fact that man is 
first an animal. So far in the history of the 
world, man has been engaged in fiercest com- 
petition, physical, commercial, or otherwise and 
the struggle has been one for the survival of 
the fittest. 

46 



In no game or sport have the qualities 
needed in competitive exertion been so clearly 
exemplified as in boxing. The immediate and 
continued effect of consistent practice with the 
gloves is a wonderful increase in vital energy. 
All the motive centers of the body are under 
constant stimulation. This insures the perfect 
health and control of the nervous system. The 
virile qualities so necessary to success in any 
line are kept at high tide. The most valuable 
characteristics of the male animal, whetheir 
man or lower, are kept alive by fighting. It is 
only the half-emasculated effeminate product 
of the softening processes of an advanced civil- 
ization who believes his face is made of Dres- 
den China and his body something too delicate 
to stand punishment. The body can become so 
hardened and seasoned by a nicely graduated 
toughening process that serious injury is im- 
probable. At the same time a nicely balanced 
sense of values takes possession. A man comes 
to know that life is not all. He does not fear 
violent death or death in the abstract. It is 
better to fight for the possession of what is 
worth while and succumb than to cringe and 
submit to indignities and abuse when liberty 
might be secured by fighting. It is quite likely 
that the perusal of what is written above may 
give the reader an idea of why boxing is some- 
times called, "The Manly Art." 



47 



?0 6 



5. 



le end and aim of the master boxer is 

deceive with feinting and then connter back on 
an attempted coimter. 




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by reading the bold face type only. 



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